鐵拳nat映射

It’s been a full year since I’ve become an independent data visualization designer. When I first started, projects that came to me didn’t relate to my interests or skills. Over the past eight months, it’s become very clear to me that when clients hire freelancers, they want either: dashboards, interactive visualizations, or reports. I didn’t care for any of these. It always surprises me when I get emails for this kind of work because my portfolio is far from what they look for. I specialize in static visualizations that aim to achieve two outcomes: data documentaries (like a film documentary, except it recounts events through data), and visualizing the world (integrating data into existing formats that don’t traditionally express data, like a food menu).

我 T的已整整一年，因?yàn)槲乙呀?jīng)成為一個(gè)獨(dú)立的數(shù)據(jù)可視化設(shè)計(jì)。 我剛開(kāi)始的時(shí)候，遇到的項(xiàng)目與我的興趣或技能無(wú)關(guān)。 在過(guò)去的八個(gè)月中，對(duì)我來(lái)說(shuō)很清楚，當(dāng)客戶雇用自由職業(yè)者時(shí)，他們要么想要：儀表板，交互式可視化或報(bào)告。 我不在乎這些。 當(dāng)我收到此類工作的電子郵件時(shí)，總是感到驚訝，因?yàn)槲业耐顿Y組合遠(yuǎn)非他們想要的那樣。 我專門研究靜態(tài)可視化，旨在實(shí)現(xiàn)兩個(gè)結(jié)果：數(shù)據(jù)記錄片(如電影記錄片，只是通過(guò)數(shù)據(jù)重新記錄事件)，以及可視化的世界(將數(shù)據(jù)集成到傳統(tǒng)上不能表達(dá)數(shù)據(jù)的現(xiàn)有格式中，例如食物菜單) )。

I considered quitting data visualization altogether in June 2020 and moving onto something else. I originally entered the field because I was inspired by creative work done by Giorgia Lupi, Nadieh Bremer, Stefanie Posavec, Eleanor Lutz, Mona Chalabi, The Pudding, and so many more. I didn’t join this industry to spend the majority of my career creating dry client work. By August, however, I received two new opportunities which both aligned with my interests and skillset — a reminder that despite the outcome, I just need to remain patient during this journey.

我考慮過(guò)在2020年6月完全退出數(shù)據(jù)可視化，然后轉(zhuǎn)向其他方式。 我最初進(jìn)入該領(lǐng)域是因?yàn)槲沂艿紾iorgia Lupi，Nadieh Bremer，Stefanie Posavec，Eleanor Lutz，Mona Chalabi，The Pudding等人的創(chuàng)造性工作的啟發(fā)。 我沒(méi)有加入這個(gè)行業(yè)，而是將我的大部分職業(yè)生涯都花在了干客戶工作上。 但是，到了八月，我獲得了兩個(gè)與我的興趣和技能相匹配的新機(jī)會(huì)-提醒您，盡管取得了成果，但我在旅途中仍然需要保持耐心。

I learned that the independent market thrives in operations that can scale: courses, speaking, workshops, and books. Work usually comes from folks in business analytics, research, health, and non-profits. For work that doesn’t scale, like consulting or services, it’s tough to get a sustainable roster of clients who want creative work that goes beyond the standard bar chart.

我了解到，獨(dú)立市場(chǎng)在可擴(kuò)展的運(yùn)營(yíng)中蓬勃發(fā)展：課程，演講，講習(xí)班和書(shū)籍。 工作通常來(lái)自業(yè)務(wù)分析，研究，健康和非營(yíng)利組織中的人們。 對(duì)于諸如咨詢或服務(wù)之類的規(guī)模不大的工作，要獲得想要超越標(biāo)準(zhǔn)條形圖的創(chuàng)造性工作的可持續(xù)客戶名單是很難的。

So, how do I move forward? I looked back to my previous article and thought about the people I talked to. I’ve tried freelancing, teaching, and speaking. The only option left is to develop products, specifically print work for sale. My skills thrive in static data visualization, so naturally, print made sense. I wondered about designing expected things like posters, reference guides, or books. However, I had no experience and was afraid to try these out.

那么，我該如何前進(jìn)？ 我回頭看了上一篇文章 然后想起我和之交談的人。 我曾經(jīng)嘗試過(guò)自由職業(yè)，教學(xué)和演講。 剩下的唯一選擇是開(kāi)發(fā)產(chǎn)品，特別是要出售的印刷作品。 我的技能在靜態(tài)數(shù)據(jù)可視化中蓬勃發(fā)展，因此自然而然地打印就可以了。 我不知道要設(shè)計(jì)預(yù)期的東西，例如海報(bào)，參考指南或書(shū)籍。 但是，我沒(méi)有經(jīng)驗(yàn)，害怕嘗試一下。

Miraculously, one project idea came to me in the middle of June, it was going to be based on Tekken, a 3D Japanese fighting game that’s been around since the late 90's. I’ve been around games for as long as I can remember. When I was a kid, my older brother would put me right beside him as he played Dreamcast or Playstation 2. Gaming is close to my own identity, so it’s fitting that it’s what would give me another chance in this industry.

奇跡般地，一個(gè)項(xiàng)目構(gòu)想在6月中旬出現(xiàn)在我的腦海中，它將基于《鐵拳》，這是一款90年代末開(kāi)始出現(xiàn)的日本3D格斗游戲。 我記得游戲很久了。 當(dāng)我還是個(gè)孩子的時(shí)候，哥哥在玩Dreamcast或Playstation 2時(shí)會(huì)把我放在他旁邊。游戲與我的身份很接近，因此這給了我這個(gè)行業(yè)另一個(gè)機(jī)會(huì)。

See the full project I did on Tekken.

查看我在《鐵拳》上所做的完整項(xiàng)目 。

Tekken Project.鐵拳》項(xiàng)目的一部分設(shè)計(jì)的卡的子集。

如何思考 (How to Think About Something)

I often think that how we think matters more than what we know. I wanted to challenge data visualization and see if it can teach others how to think about something instead of focusing on the what.

我經(jīng)常認(rèn)為我們的想法比我們知道的重要 。 我想挑戰(zhàn)數(shù)據(jù)可視化，看看它是否可以教別人如何思考某件事，而不是專注于事物 。

“A nation of shopkeepers shaken by the shift online,” Financial Times.“ 一個(gè)因網(wǎng)上購(gòu)物而震驚的店主國(guó) ” ，《金融時(shí)報(bào)》。

The chart from the Financial Times shows the explosive growth of online retail during the pandemic. The approach of this chart is to expose what happened to online retail during the pandemic. The reader can see there has been a sharp growth and the annotations provide context to the story. This approach of showing the what is an important facet of data visualization. But, I was more interested in showing the how.

《金融時(shí)報(bào)》的圖表顯示了大流行期間在線零售的爆炸性增長(zhǎng)。 這個(gè)圖表的方法是暴露在大流行期間所發(fā)生的網(wǎng)上零售。 讀者可以看到增長(zhǎng)Swift，注釋為故事提供了背景。 顯示了什么是數(shù)據(jù)可視化的一個(gè)重要方面的這種做法。 但是，我對(duì)展示操作方法更感興趣。

I arrived at this idea of showing the how after watching a YouTube video describing the combat systems of video games; it opened my eyes to how combat works and the deeper mechanics involved with it. I learned about start-up animation, which is extremely important during combat. This is an animation that occurs as you attack, immediately before your move impacts the enemy. Light attacks are faster than heavy attacks because they have fewer frames in the start-up animation, whereas you risk being more vulnerable and subject to attack from enemies with heavy attacks.

我想到了這樣的想法：在觀看描述視頻游戲戰(zhàn)斗系統(tǒng)的 YouTube視頻之后， 如何展示; 它讓我看到了戰(zhàn)斗的工作方式以及與之相關(guān)的更深層次的技巧。 我了解了啟動(dòng)動(dòng)畫，這在戰(zhàn)斗中非常重要。 這是動(dòng)畫，攻擊發(fā)生時(shí)，就在您的舉動(dòng)撞擊敵人之前。 輕度攻擊比重度攻擊要快，因?yàn)樗鼈冊(cè)趩?dòng)動(dòng)畫中的幀數(shù)較少，而您則更容易受到攻擊，并有可能遭受來(lái)自具有重度攻擊的敵人的攻擊。

“What Makes a Good Combat System?,” Game Maker’s Toolkit.“什么才是好的戰(zhàn)斗系統(tǒng)？”，游戲制作者工具包。

Once I learned the mechanics, I inherited a new perspective on combat. If the mechanics of something are revealed, I could understand the how. Ever tried to take a mechanical pencil apart? I’ve done this when I was younger to get the lead unstuck. After doing this several times, I had a general understanding of how the pencil worked.

學(xué)習(xí)了機(jī)械技巧后，我就繼承了戰(zhàn)斗的新觀點(diǎn)。 如果某事的機(jī)制被揭示，我能理解的方式 。 曾經(jīng)嘗試過(guò)拆開(kāi)自動(dòng)鉛筆嗎？ 我年輕的時(shí)候就這樣做了，以消除潛在的麻煩。 這樣幾次之后，我的鉛筆是如何工作的一個(gè)大致的了解。

How can data visualization teach readers how to think about something? I don’t have a thorough answer as I’m still in the early stages of thinking about this. However, through my own reflection, one way is to compartmentalize information. Like how scientists look to understand the world through the microscopic scale, information is no different.

數(shù)據(jù)可視化如何教會(huì)讀者如何思考問(wèn)題？ 我還沒(méi)有一個(gè)完整的答案，因?yàn)槲胰蕴幱谒伎嫉脑缙陔A段。 但是，通過(guò)我自己的反思，一種方法是分隔信息。 就像科學(xué)家通過(guò)微觀尺度看待世界的方式一樣，信息也不例外。

I first started exploring this idea with a board game called Bang! I broke down how the game works by visualizing the distribution of the cards. A simple histogram revealed which cards were more valuable due to scarcity. I’ve played Bang! over 100 times, but I’ve never taken a moment to think about which cards were more rare. Furthermore, this visualization shows how the game was designed, favouring offensive play.

我首先從一個(gè)名為Bang的棋盤游戲開(kāi)始探索這個(gè)想法。 我通過(guò)可視化紙牌的分布來(lái)細(xì)分游戲的工作方式。 一個(gè)簡(jiǎn)單的直方圖顯示哪些卡因稀缺而更有價(jià)值。 我玩過(guò)Bang！ 超過(guò)100次，但我從來(lái)沒(méi)有花時(shí)間去思考哪些牌更為稀有。 此外，此可視化效果顯示了游戲的設(shè)計(jì)方式，有利于進(jìn)攻性比賽。

See project here.在這里查看項(xiàng)目。

While The Tekken project was an evolutionary step in my desire to show the how, I never expected it to also completely change my design process.

而鐵拳項(xiàng)目是我的愿望，展示如何演化而來(lái)，沒(méi)想到它也徹底改變我的設(shè)計(jì)過(guò)程。

《鐵拳》如何改變我的流程 (How Tekken Changed My Process)

I stumbled on an amazing video about how Mick Gordon creates music for the latest installments of the Doom games. In his talk, he repeats the following insight:

我偶然發(fā)現(xiàn)了一段精彩的視頻，內(nèi)容涉及Mick Gordon如何為最新版《毀滅戰(zhàn)士》游戲創(chuàng)作音樂(lè)。 在演講中，他重復(fù)了以下見(jiàn)解 ：

“If you want to get a different outcome, you must change the process.”

“如果要獲得不同的結(jié)果，則必須更改流程。”

Tekken catalyzed the shift in how I work and there were several things I discovered in the new process.

《鐵拳》催生了我的工作方式的轉(zhuǎn)變，在新過(guò)程中我發(fā)現(xiàn)了幾件事。

多維數(shù)據(jù) (Multidimensional data)

The most seductive aspect of exploring Tekken as a data visualization project was its multidimensionality.

探索Tekken作為數(shù)據(jù)可視化項(xiàng)目的最誘人的方面是它的多維性。

In Tekken 7 Season 3, you can play as one of 30+ characters. Each character has over 100 fighting moves you can use. Generally, players start by having one ‘main’ or the character they will specialize in. This is important because they have to learn and master their character’s most effective moves, and gain a general sense on how to combat the other 30+ characters. It’s extremely difficult to play this game well due to the amount of knowledge and experience it demands.

在《鐵拳7》第3季中，您可以扮演30多個(gè)角色之一。 每個(gè)角色可以使用100多種戰(zhàn)斗動(dòng)作。 通常，玩家從擁有一個(gè)“主要”角色或他們將要擅長(zhǎng)的角色開(kāi)始。這很重要，因?yàn)樗麄儽仨殞W(xué)習(xí)并掌握其角色最有效的動(dòng)作，并對(duì)如何與其他30個(gè)以上的角色作斗爭(zhēng)有一個(gè)普遍的認(rèn)識(shí)。 由于需要大量的知識(shí)和經(jīng)驗(yàn)，因此很難很好地玩這個(gè)游戲。

Players have voluntarily collected data for each move per character. A popular website players reference is rbnorway. In addition, many use Tekken Chicken on mobile to access this data on-the-go.

玩家已自愿收集每個(gè)角色的每個(gè)動(dòng)作的數(shù)據(jù)。 流行的網(wǎng)站播放器參考是rbnorway 。 另外，許多用途 Tekken Chicken在移動(dòng)設(shè)備上可以隨時(shí)訪問(wèn)此數(shù)據(jù)。

Josie T7 Frames, rbnorway.Josie T7 Frames ，rbnorway。

In general, each move is defined by the following properties:

通常，每個(gè)動(dòng)作均由以下屬性定義：

Command input: The buttons you press on your controller to execute the move. Hit level: In general, a move can hit three areas on the body. High, middle, and low hits will hit the head, torso, and legs respectively. High and middle hits can be blocked while standing, but low hits require you to block while crouching. In addition, you can dodge high hits by crouching, and you can dodge low hits by jumping. Keep in mind this is a general rule.Damage: The amount of health you would deplete if your move successfully hits your opponent.Start-up frames: Every move has an animation before the move hits the opponent. Some moves have shorter animation (i.e. fewer frames). The fewer the frames, the faster the move, the less vulnerable you will be.Follow-up frames on hit: When your attack hits an opponent who isn’t blocking or in the middle of an animation, you could have plus or minus frames that could help you link moves more effectively. This phenomenon is also known as frame advantage/disadvantage.Follow-up frames on block: Similar to frames on hit, but this applies when you opponent blocks your move.Follow-up frames on counter hit: Similar to frames on hit, but this applies to when your move lands when your opponent is in the middle of an animation.

命令輸入：在控制器上按下以執(zhí)行移動(dòng)的按鈕。 命中等級(jí)：通常，一招可以擊中身體的三個(gè)區(qū)域。 高，中和低擊將分別擊中頭部，軀干和腿部。 站立時(shí)可以阻擋高中擊，但蹲下時(shí)低擊則需要阻擋。 此外，您可以通過(guò)蹲伏避開(kāi)高命中，也可以通過(guò)跳躍避開(kāi)低命中。 請(qǐng)記住，這是一個(gè)一般規(guī)則。 傷害：如果成功擊中對(duì)手，您將消耗的生命值。 開(kāi)機(jī)畫面：每步動(dòng)作在擊中對(duì)手之前都會(huì)有一個(gè)動(dòng)畫。 一些動(dòng)作的動(dòng)畫時(shí)間較短(即幀數(shù)較少)。 幀數(shù)越少，移動(dòng)速度越快，您越容易受到攻擊。 擊中跟進(jìn)幀：當(dāng)攻擊擊中沒(méi)有阻擋或處于動(dòng)畫中間的對(duì)手時(shí)，您可以使用正負(fù)幀來(lái)幫助您更有效地鏈接動(dòng)作。 這種現(xiàn)象也稱為框架優(yōu)勢(shì)/劣勢(shì)。 格擋中的跟進(jìn)框：與命中時(shí)的框相似，但是在對(duì)手擋住自己的舉動(dòng)時(shí)適用。 反擊時(shí)的后續(xù)幀：與擊中時(shí)的幀相似，但是這適用于當(dāng)對(duì)手處于動(dòng)畫中間時(shí)您的移動(dòng)著陸的情況。

If that was too confusing, here’s a short video I made describing this data. I have added one more variable, effective range. This refers to the maximum distance you can be for the move to still hit.

如果這太令人困惑，那么這是我制作的一段簡(jiǎn)短的視頻，描述了這些數(shù)據(jù)。 我添加了另一個(gè)可變的有效范圍。 這是指您仍然可以移動(dòng)的最大距離。

It’s simply not enough to look at these variables in isolation, when every move has a variety of properties that define it. The data in this game presents the perfect playground for data visualization. There’s no other medium that works better than data visualization to explain these moves in a holistic way. Every video or article I’ve come across would use this data to help explain why it’s effective in certain situations. They present the data as plain text. Though, there are limitations with this because it’s hard to compare these moves for context.

當(dāng)每一步都有定義它的各種屬性時(shí)，單單查看這些變量是遠(yuǎn)遠(yuǎn)不夠的。 此游戲中的數(shù)據(jù)為數(shù)據(jù)可視化提供了理想的場(chǎng)所。 沒(méi)有其他方法可以比數(shù)據(jù)可視化更好地整體解釋這些動(dòng)作了。 我遇到的每個(gè)視頻或文章都將使用此數(shù)據(jù)來(lái)幫助解釋為什么它在某些情況下有效。 它們以純文本形式顯示數(shù)據(jù)。 但是，這樣做有局限性，因?yàn)楹茈y根據(jù)上下文比較這些舉動(dòng)。

Here we have two moves, SWS 1 and SWS 4 shown. In videos, narrators usually present the data only as text form (at the bottom of the screenshot). The challenge here is that in video format, moves are not shown side by side and data isn’t easy to compare. Source: https://youtu.be/UPl8IVHvRaQ這里我們有兩個(gè)動(dòng)作，顯示為SWS 1和SWS 4。 在視頻中，解說(shuō)員通常僅以文本形式(在屏幕截圖的底部)顯示數(shù)據(jù)。 這里的挑戰(zhàn)是，在視頻格式中，移動(dòng)并不能同時(shí)顯示，并且數(shù)據(jù)不容易比較。 資料來(lái)源： https : //youtu.be/UPl8IVHvRaQ

I notice I’m often drawn to datasets that can be visualized as a form of small multiples. Earlier in 2020, I’ve been making experimental projects that can summarize characteristics of something through small multiples:

我注意到我經(jīng)常被可以可視化為小倍數(shù)形式的數(shù)據(jù)集吸引。 2020年早些時(shí)候，我一直在進(jìn)行實(shí)驗(yàn)性項(xiàng)目，可以通過(guò)較小的倍數(shù)總結(jié)某些事物的特征：

here.這里查看項(xiàng)目。

I was drawn to the idea that the world is multifaceted. There isn’t one thing that describes anything. If someone has a medical condition, to understand it, various lifestyle factors needs to be considered: diet, sleep routine, work, relationships, religion, exercise, childhood upbringing, relationships, trauma, and the list goes on. Reality is complex.

我被這個(gè)世界多方面的想法所吸引。 沒(méi)有一件事可以描述任何東西。 要了解某人的病情，要理解它，就需要考慮各種生活方式因素：飲食，睡眠習(xí)慣，工作，人際關(guān)系，宗教信仰，鍛煉，童年撫養(yǎng)，人際關(guān)系，外傷，并且清單還在繼續(xù)。 現(xiàn)實(shí)是復(fù)雜的。

與《鐵拳》社區(qū)一起設(shè)計(jì) (Designing with the Tekken community)

While developing this project, I engaged with a public forum for the first time. I accessed Tekken players by joining the community where they hung out: the Tekken subreddit. I wasn’t a regular Reddit user so I had to learn how the platform worked as I engaged with the community.

在開(kāi)發(fā)此項(xiàng)目時(shí)，我第一次參加了公共論壇。 我通過(guò)加入他們參加的社區(qū)來(lái)訪問(wèn)Tekken玩家： Tekken subreddit 。 我不是Reddit的常規(guī)用戶，因此我必須學(xué)習(xí)與社區(qū)互動(dòng)時(shí)平臺(tái)的工作方式。

In total, I engaged with the community four times.

我總共與社區(qū)互動(dòng)了四次。

The first was to ask for suggestions and check if what I wanted to make already exists. See it here.

首先是征求建議，并檢查我是否想提出的建議已經(jīng)存在。 在這里看到它 。

The second was to validate my prototype and understand if it was worth pursuing. See it here.

第二個(gè)是驗(yàn)證我的原型并了解它是否值得追求。 在這里看到它 。

I reached out to one of the users who had been giving me feedback. I asked them to provide one-on-one feedback because receiving feedback from many users at once was overwhelming and took a toll on me. They gave me feedback on Version 2.

我與提供反饋的用戶之一聯(lián)系。 我要求他們提供一對(duì)一的反饋，因?yàn)榱⒓词盏皆S多用戶的反饋很不方便，并給我造成了巨大的損失。 他們給了我有關(guān)版本2的反饋。

I declared the project complete and shared the final version as a public post in order to gauge people’s reactions. See it here.

我宣布該項(xiàng)目已完成，并以公開(kāi)形式分享了最終版本，以評(píng)估人們的React。 在這里看到它 。

I was naive to engage with people who weren’t familiar with data visualization this way because the response was brutal. All kinds of feedback were thrown at me and I had to pick which suggestions to filter out. Still, I knew that I was onto something interesting. This chaotic process was simply good user-centered design. In order to eliminate the one-sidedness of things and improve overall accessibility, I listened to user problems, understood how they read data, figured out ways to solve their problems.

我很天真地與那些不熟悉數(shù)據(jù)可視化的人打交道，因?yàn)檫@種回應(yīng)是殘酷的。 我收到了各種各樣的反饋，因此我不得不選擇要過(guò)濾掉的建議。 不過(guò)，我知道我正在做一些有趣的事情。 這個(gè)混亂的過(guò)程僅僅是以用戶為中心的良好設(shè)計(jì)。 為了消除事物的一面性并改善總體可訪問(wèn)性，我聽(tīng)了用戶的問(wèn)題，了解了他們?nèi)绾巫x取數(shù)據(jù)，找到了解決問(wèn)題的方法。

像公眾一樣獲得公眾的反饋 (Taking feedback from the public like a champ)

In designing the first version of this project, I made three mistakes:

在設(shè)計(jì)該項(xiàng)目的第一個(gè)版本時(shí)，我犯了三個(gè)錯(cuò)誤：

I made too many assumptions about what my target audience needs. E.g. creating something that helps people build combos, when in reality, learning sample combos provided in the game was sufficient.

我對(duì)目標(biāo)受眾的需求做了很多假設(shè)。 例如，創(chuàng)建某種東西可以幫助人們建立連擊，而實(shí)際上，學(xué)習(xí)游戲中提供的示例連擊就足夠了。

My target audience was too vague.

我的目標(biāo)受眾太模糊了。

I made a legend that was too complicated.

我創(chuàng)造了一個(gè)太復(fù)雜的傳說(shuō)。

My initial goal was to create something that would help beginner to intermediate players better understand the game and help them build tactics and combos to win the game. But, this shifted after creating Version 1.

我最初的目標(biāo)是創(chuàng)造一種東西，以幫助初學(xué)者和中級(jí)玩家更好地理解游戲，并幫助他們建立戰(zhàn)術(shù)和連勝才能贏得游戲。 但是，這在創(chuàng)建版本1后發(fā)生了變化。

This visualization shows five moves that Josie Rizal can play. They are part of a list of her most effective moves.

該可視化顯示了Josie Rizal可以播放的五種動(dòng)作。 它們是她最有效的舉動(dòng)清單的一部分。

Version 1 on the left. Over-complicated legend on the right.左側(cè)的版本1。 右側(cè)的圖例過(guò)于復(fù)雜。

I shared Version 1 with the Tekken Reddit community and received interesting responses. There were a few that particularly struck me.

我與Tekken Reddit社區(qū)共享了版本1， 并收到了有趣的回復(fù) 。 有一些特別讓我震驚。

The feedback below is negative. But, I found it interesting to read. It hit on something that I always think about. Do people in general find complicated data visualizations overwhelming? Their main point was that I was simply visualizing a data table that people can simply reference. Why bother learning how to read a data visualization if a data table is more accessible? These are interesting points and I think it questions how visualizations need to add a lot of value for people to learn how to read it and access insights.

下面的反饋是負(fù)面的。 但是，我發(fā)現(xiàn)閱讀有趣。 它擊中了我一直在想的東西。 總的來(lái)說(shuō)，人們是否發(fā)現(xiàn)復(fù)雜的數(shù)據(jù)可視化不勝枚舉？ 他們的主要觀點(diǎn)是，我只是在可視化人們可以簡(jiǎn)單引用的數(shù)據(jù)表。 如果更易于訪問(wèn)數(shù)據(jù)表，為什么還要學(xué)習(xí)如何讀取數(shù)據(jù)可視化？ 這些都是有趣的觀點(diǎn)，我認(rèn)為這對(duì)可視化如何為人們學(xué)習(xí)如何閱讀和獲取見(jiàn)解的附加價(jià)值提出了疑問(wèn)。

This feedback about clarifying my goals is constructive and positive. If the problem and the goal aren’t clearly defined, the result would feel ambiguous. And, this user used the term ‘data viz’. I never used that term in any of my posts to avoid confusing jargon. It seems to me they have familiarity with it and that’s why their feedback was constructive.

關(guān)于澄清我的目標(biāo)的反饋是建設(shè)性的和積極的。 如果沒(méi)有明確定義問(wèn)題和目標(biāo)，結(jié)果將是模棱兩可的。 并且，該用戶使用了術(shù)語(yǔ)“數(shù)據(jù)可視化”。 我從未在任何文章中使用該術(shù)語(yǔ)來(lái)避免混淆術(shù)語(yǔ)。 在我看來(lái)，他們對(duì)此很熟悉，因此他們的反饋具有建設(shè)性。

I really liked the honest feedback here. It seems that this user isn’t part of the data visualization or design world, but they did their best describing how I could improve my visualization while tackling the technicalities. It was nice to see them try to break down what worked and what didn’t.

我真的很喜歡這里的誠(chéng)實(shí)反饋。 該用戶似乎并不屬于數(shù)據(jù)可視化或設(shè)計(jì)領(lǐng)域，但他們盡了最大的努力來(lái)描述我如何在解決技術(shù)問(wèn)題的同時(shí)改善可視化。 很高興看到他們嘗試分解哪些有效，哪些無(wú)效。

I’ll be honest, it wasn’t easy reading through all the feedback I got. I felt like I missed the mark on something and wasn’t sure if it was worth it to keep pushing forward. After taking a few days to mentally recover, I adjusted my perspective and started to see the silver lining: I was lucky enough to tap into a community that cared enough to give me such detailed feedback. They love Tekken and that’s why they are active on Reddit. Feedback is never easy to accept and unfortunately, it’s much easier to focus on the negative comments rather than the most insightful ones. I was adamant that I wanted to listen and focus on what people were trying to say. I took a deep breath and began working on the next iteration.

老實(shí)說(shuō)，要閱讀我得到的所有反饋并不容易。 我覺(jué)得自己錯(cuò)過(guò)了某件事的記號(hào)，不確定繼續(xù)前進(jìn)是否值得。 經(jīng)過(guò)幾天的精神恢復(fù)之后，我調(diào)整了看法并開(kāi)始看到一線希望：我很幸運(yùn)地進(jìn)入了一個(gè)社區(qū)，這個(gè)社區(qū)足夠關(guān)心我，并提供了詳盡的反饋。 他們喜歡《鐵拳》，這就是為什么他們活躍于Reddit的原因。 反饋絕不容易被接受，不幸的是，關(guān)注負(fù)面評(píng)論而不是最有見(jiàn)地的評(píng)論要容易得多。 我堅(jiān)持要傾聽(tīng)并專注于人們?cè)噲D說(shuō)的話。 我深吸了一口氣，開(kāi)始進(jìn)行下一個(gè)迭代。

驗(yàn)證用戶需求 (Validating a user need)

It was clear to me what I had to do. I had to start over and reinvent my process. I didn’t have a clear goal because I didn’t have a clear problem to solve. So, I went to the beginner’s megathread on Tekken and went through the questions new players asked, I needed a way to synthesize them. Somehow, I started recording each question I came across on a sticky note.

對(duì)我來(lái)說(shuō)很清楚我該怎么做。 我不得不重新開(kāi)始，重新發(fā)明我的過(guò)程。 我沒(méi)有明確的目標(biāo)，因?yàn)槲覜](méi)有明確的問(wèn)題要解決。 因此，我進(jìn)入了《鐵拳》上初學(xué)者的大線程 ，并經(jīng)歷了新玩家提出的問(wèn)題，我需要一種綜合方法。 不知何故，我開(kāi)始在便箋上記錄我遇到的每個(gè)問(wèn)題。

I had about fifteen noted and began arranging them on my desk. The next step was to synthesize. I clustered similar sticky notes together and named each cluster based on their shared similarities. I noticed a trend: all the questions varied on a spectrum of specificity. Questions ranged from being very vague (looking for direction on how to start learning) or very specific (need help with technical aspects of the game). I decided to focus on challenges people had related to character-specific tactics.

我大約有十五個(gè)筆記，并開(kāi)始將它們放在我的書(shū)桌上。 下一步是合成。 我將相似的便箋聚在一起，并根據(jù)它們的共同相似性為每個(gè)聚類命名。 我注意到了一種趨勢(shì)：所有問(wèn)題都在特定范圍內(nèi)有所不同。 問(wèn)題范圍從非常模糊(尋找有關(guān)如何開(kāi)始學(xué)習(xí)的方向)到非常具體(需要游戲技術(shù)方面的幫助)。 我決定專注于人們與角色特定策略相關(guān)的挑戰(zhàn)。

I finally had a breakthrough. I finally felt like I was walking on even ground. I was so lost the whole time because I had no idea what I was doing. Once I identified a specific problem pertaining to a specific target audience, I felt relief. Now, I could back up claims pertaining to why I was doing this and test every possible solution against its problem.

我終于有了突破。 我終于覺(jué)得自己在平坦的地面上行走。 我一直迷茫，因?yàn)槲也恢雷约涸谧鍪裁础?一旦確定了與特定目標(biāo)受眾有關(guān)的特定問(wèn)題，我就會(huì)感到寬慰。 現(xiàn)在，我可以備份有關(guān)為何執(zhí)行此操作的聲明，并針對(duì)其問(wèn)題測(cè)試所有可能的解決方案。

設(shè)計(jì)什么數(shù)據(jù)可視化效果最好：物理卡的情況 (Design what data visualization does best: the case for physical cards)

There are a lot of better ways to tell a good story, such as movies, stand-up comedy, graphic novels, music, vlogs, and so much more. Why do it through data?

有很多更好的方法來(lái)講述一個(gè)好故事，例如電影，單口喜劇，圖畫小說(shuō)，音樂(lè)，視頻博客等等。 為什么要通過(guò)數(shù)據(jù)呢？

Before I tackled this project, I challenge if data visualization makes sense. For example, the video below is a timeline of the history of women’s rights. It could also exist as a large infographic. Whichever is more appropriate would depend on the context.

在處理這個(gè)項(xiàng)目之前，我會(huì)挑戰(zhàn)數(shù)據(jù)可視化是否有意義。 例如，以下視頻是婦女權(quán)利歷史的時(shí)間表。 它也可以作為大型信息圖存在。 哪個(gè)更合適將取決于上下文。

In what context is a video more appropriate than an infographic to show data visualization, and vice versa?在什么情況下，視頻比圖表更適合于顯示數(shù)據(jù)可視化，反之亦然？

What makes a static infographic different from a video in this case? The main difference is comparison, a fundamental function that data visualization enables. In this video, each year is shown one at a time. If you made a large infographic, you could compare multiple years at a time to allow for deeper analysis.

在這種情況下，靜態(tài)圖表與視頻有何不同？ 主要區(qū)別是比較 ，這是數(shù)據(jù)可視化實(shí)現(xiàn)的基本功能。 在此視頻中，每年一次顯示一次。 如果您制作了一個(gè)大型的信息圖，則可以一次比較多年，以便進(jìn)行更深入的分析。

When working on the Tekken project, I had to understand why data visualization made more sense as a communication medium over other ones. The most important factor to consider was the sequential nature of how information is communicated.

在進(jìn)行《鐵拳》項(xiàng)目時(shí)，我必須理解為什么數(shù)據(jù)可視化作為一種??交流媒體比其他方式更有意義。 要考慮的最重要因素是信息交流的順序性。

Let’s break this down.

讓我們分解一下。

When it comes to learning about Tekken, players access information through online forums, articles, and YouTube videos. In terms of content, I am competing with articles and videos. Articles and videos are extremely valuable in providing structure. However, there are limitations: the flow of information is sequential and cannot be changed.

在學(xué)習(xí)鐵拳方面，玩家可以通過(guò)在線論壇，文章和YouTube視頻訪問(wèn)信息。 在內(nèi)容方面，我正在與文章和視頻競(jìng)爭(zhēng)。 文章和視頻在提供結(jié)構(gòu)方面非常有價(jià)值。 但是，存在局限性：信息流是順序的，無(wú)法更改。

A video flows scene by scene. The viewer has no control over how information is presented.

視頻逐場(chǎng)景流動(dòng)。 觀看者無(wú)法控制如何呈現(xiàn)信息。

Similarly, an article is structured by paragraphs. One follows the next and the reader has no control over this.

同樣，文章由段落構(gòu)成。 下一個(gè)跟隨，讀者對(duì)此無(wú)能為力。

In data visualization, this format is usually seen through scrollytelling visualizations.

在數(shù)據(jù)可視化中，通常通過(guò)滾動(dòng)式可視化看到這種格式。

“How the Thai cave rescue mission unfolded,” South China Morning Post.《泰國(guó)洞穴救援任務(wù)如何開(kāi)展》，《南華早報(bào)》。

To change the nature of information flow so that it’s not sequential, there needs to be a component of interactivity so people can control what they see. This example from The Pudding explores masked wrestlers. There are two ways to experience the data: 1) guided stories and 2) skip the story and explore the data on your own.

為了改變信息流的性質(zhì)，使其不連續(xù)，需要有交互性的組成部分，以便人們可以控制他們看到的東西。 《布丁》中的這個(gè)例子探討了蒙面摔跤手。 可以通過(guò)兩種方法來(lái)體驗(yàn)數(shù)據(jù)：1)引導(dǎo)故事，以及2)跳過(guò)故事并自己探索數(shù)據(jù)。

Source: “An Illustrated Guide to Masked Wrestlers,” The Pudding.資料來(lái)源： 《布丁摔跤手插圖指南》 。

The guided stories are sequential and follow a specific order.

引導(dǎo)的故事是連續(xù)的，并遵循特定的順序。

Source: “An Illustrated Guide to Masked Wrestlers,” The Pudding.資料來(lái)源： 《布丁摔跤手插圖指南》 。

Explore mode allows users to filter as they please based on nationality, decade, and theme of the masks. You have freedom to see all the masks.

探索模式允許用戶根據(jù)國(guó)籍，口罩和口罩主題隨意過(guò)濾。 您可以自由查看所有口罩。

Source: “An Illustrated Guide to Masked Wrestlers”, The Pudding.資料來(lái)源： 《布丁》 ，《 蒙面摔跤手圖解指南》 。

This is the power of interactivity, it allows for control. In this case, the user can determine what they learn and they can make their own conclusions. This is a healthy mix of both explanatory and exploratory data visualization. Users can follow a pre-determined story and also have a chance to further explore. This is also commonly known as the Martini Glass Structure.

這是交互的力量，它允許控制。 在這種情況下，用戶可以確定他們所學(xué)的內(nèi)容，并可以得出自己的結(jié)論。 這是說(shuō)明性和探索性數(shù)據(jù)可視化的完美結(jié)合。 用戶可以遵循預(yù)定的故事，也有機(jī)會(huì)進(jìn)一步探索。 這通常也稱為馬提尼玻璃結(jié)構(gòu)。

A challenge with a web-based solution in the case of Tekken is that it requires a computer. Players can play Tekken on their computers or on a console. Players who play on their computers will have difficulty referencing data visualization online.

對(duì)于Tekken，基于Web的解決方案面臨的挑戰(zhàn)是它需要一臺(tái)計(jì)算機(jī)。 玩家可以在其計(jì)算機(jī)或控制臺(tái)上玩《鐵拳》。 在其計(jì)算機(jī)上玩的玩家將難以在線參考數(shù)據(jù)可視化。

The other option is to create a poster or a printed guide that can be used on-the-go. The challenge here is that information is fixed in place and there’s little control on how it’s presented. The final option I came up with were physical cards. Information is not sequential and it’s still easy to reference while practicing.

另一種選擇是創(chuàng)建可隨時(shí)使用的海報(bào)或印刷指南。 這里的挑戰(zhàn)是信息固定在適當(dāng)?shù)奈恢?#xff0c;幾乎沒(méi)有控制如何呈現(xiàn)的。 我想到的最后一個(gè)選擇是物理卡。 信息不是連續(xù)的，在練習(xí)時(shí)仍然很容易參考。

What’s interesting about this solution was that the cards are essentially small multiples. Ultimately, the function of these cards is to enable comparison. You can rank them through any variable, create your own categories, and learn how to think about Tekken. I think this format suits this need very well and it adds value in ways that other mediums of communication cannot.

該解決方案有趣的是，這些卡實(shí)際上是較小的倍數(shù)。 最終，這些卡的功能是進(jìn)行比較。 您可以通過(guò)任何變量對(duì)它們進(jìn)行排名，創(chuàng)建自己的類別以及學(xué)習(xí)如何思考《鐵拳》。 我認(rèn)為這種格式非常適合此需求，并且以其他通信媒介無(wú)法提供的方式增加了價(jià)值。

吸引新社區(qū) (Engaging new communities)

I have always been interested in injecting data visualization into the world and letting lay audiences see a different way to view information. Data visualization practitioners are already aware of this potential. The rest of society, not so much. I call what I do a success if I can get people outside of my peer community to see its usefulness. Comedian Ms. Pat describes this really well:

我一直對(duì)將數(shù)據(jù)可視化注入世界并讓外行觀眾看到查看信息的另一種方式感興趣。 數(shù)據(jù)可視化從業(yè)人員已經(jīng)意識(shí)到了這一潛力。 社會(huì)的其余部分，沒(méi)有那么多。 如果可以讓其他人看到同輩社區(qū)之外的人，我會(huì)說(shuō)成功就是成功。 喜劇演員Pat女士對(duì)此描述得非常好：

If I can make that crazy looking white boy laugh and that old white man laugh, and that thug black boy laugh, that’s when I know the joke gonna work. Cus’ women gonna support women regardless, when I can go out and get a man to laugh at me going through menopause, to me, that’s funny.

如果我可以讓那個(gè)看上去瘋狂的白人男孩笑，那個(gè)白人老人笑，那個(gè)暴徒黑人男孩笑，那我就知道這個(gè)笑話會(huì)起作用。 Cus的女人會(huì)支持女人，無(wú)論何時(shí)我可以出去讓男人嘲笑我的更年期，對(duì)我來(lái)說(shuō)，這很有趣。

Source: Comedian Ms. Pat Shares Her Life Story, Selling Crack, Getting Shot & More, Breakfast Club Power 105.1 FM.

資料來(lái)源： 喜劇演員Pat女士分享了她的人生故事，賣力，射擊和更多 ， Breakfast Club Power 105.1 FM。

Unfortunately, I think a conundrum that tends to happen in any creative industry, is that our work tends to be seen by our peers, more so than our target audience. Data visualization is no exception. On Twitter, data visualization people follow me. On Instagram, it’s designers. As creators, we rarely get followed by people who could be potential clients. It’s usually peers who follow us because they are interested in our process and techniques. Here’s an excerpt that perfectly captures this:

不幸的是，我認(rèn)為在任何創(chuàng)意產(chǎn)業(yè)中都會(huì)出現(xiàn)一個(gè)難題，那就是我們的作品更容易被同行看到，而不是目標(biāo)受眾。 數(shù)據(jù)可視化也不例外。 在Twitter上，數(shù)據(jù)可視化人員關(guān)注我。 在Instagram上，是設(shè)計(jì)師。 作為創(chuàng)作者，我們很少受到可能成為潛在客戶的人們的關(guān)注。 通常是同行跟隨我們，因?yàn)樗麄儗?duì)我們的流程和技術(shù)感興趣。 這是摘錄，完美地捕捉了這一點(diǎn)：

…The goal of the visualization was to engage readers in finding and telling their own stories in the data. It was hoped that residents in various occupations would engage in social data analysis, sharing expertise from their respective industries. Despite good intentions, the visualization largely failed in this goal. A total of 23 people submitted 62 comments, with 25 of these comments being posted by the producers of the visualization. Other guests pointed out trends of interest and shared pointers to other related data sets; for example, a registered nurse shared his first-hand experiences in the Health sector. However, the majority of posters were not citizens of Minnesota; they were visualization and statistics enthusiasts drawn by the technology (the piece was mentioned on a popular visualization blog) and not by the story.

…可視化的目的是吸引讀者在數(shù)據(jù)中尋找和講述自己的故事。 希望各種職業(yè)的居民參與社會(huì)數(shù)據(jù)分析，共享各自行業(yè)的專業(yè)知識(shí)。 盡管有良好的意圖，但可視化在此目標(biāo)上很大程度上失敗了。 共有23個(gè)人提交了62條評(píng)論，其中25條評(píng)論由可視化制作人員發(fā)布。 其他嘉賓指出了感興趣的趨勢(shì)并共享了其他相關(guān)數(shù)據(jù)集的指針； 例如，一位注冊(cè)護(hù)士分享了他在衛(wèi)生部門的第一手經(jīng)驗(yàn)。 但是，大多數(shù)張貼者不是明尼蘇達(dá)州的公民。 他們是該技術(shù)吸引的可視化和統(tǒng)計(jì)愛(ài)好者(該文章在流行的可視化博客中被提及)而不是故事所吸引。

Source: Narrative Visualization: Telling Stories with Data by Edward Segel and Jeffrey Heer.

來(lái)源： 敘事可視化：Edward Segel和Jeffrey Heer著的《用數(shù)據(jù)講故事》 。

I am thinking more about how to engage relevant audiences to my work. Moving beyond my peer community and going into spaces where I am a nobody. It’s terrifying as heck. But it’s interesting. What made this project worth it at the end was when an experienced Tekken player told me this:

我正在考慮如何使相關(guān)受眾參與我的工作。 超越我的同伴社區(qū)，進(jìn)入我無(wú)人居住的空間。 真可怕。 但這很有趣。 最終使這個(gè)項(xiàng)目值得的是一個(gè)有經(jīng)驗(yàn)的《鐵拳》玩家告訴我的：

I’ve not seen anyone with your skill set take an interest in Tekken. I’m excited to see the end product. Hopefully, it’ll inspire others to do something similar.

我還沒(méi)有看到任何具有您的技能的人對(duì)《鐵拳》感興趣。 我很高興看到最終產(chǎn)品。 希望它將激發(fā)其他人做類似的事情。

It made my heart skip a beat. It was exactly what I wanted to do. I wanted to explore untapped communities who have never thought that data visualization could do something interesting for them. It’s a small attempt at my vision of visualizing the world.

這讓我的心跳了一下。 這正是我想要做的。 我想探索尚未開(kāi)發(fā)的社區(qū)，他們從未想到過(guò)數(shù)據(jù)可視化可以為他們帶來(lái)一些有趣的事情。 這是我對(duì)世界進(jìn)行可視化的一個(gè)小嘗試。

If you’d like to see more documentation of this project, you can see the five-part blog series and the YouTube process videos I made.

如果您想查看有關(guān)該項(xiàng)目的更多文檔，則可以查看由五部分組成的博客系列以及我制作的YouTube過(guò)程視頻 。

Jane Zhang is a data visualization designer based in Toronto, Canada. She designs learning experiences through bespoke visualizations. You can find her work at www.janezhang.ca and connect with her on Twitter, LinkedIn, and Instagram.

Jane Zhang是加拿大多倫多的數(shù)據(jù)可視化設(shè)計(jì)師。 她通過(guò)定制的可視化設(shè)計(jì)學(xué)習(xí)體驗(yàn)。 您可以在 www.janezhang.ca上 找到她的作品， 并通過(guò) Twitter ， LinkedIn 和 Instagram 與她聯(lián)系 。

翻譯自: https://medium.com/nightingale/how-tekken-reinvented-my-data-visualization-design-process-63c2edff9ead

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